In the land from where the eyes can see the Israeli border, Palestinian farmers try to make their living producing agricultural goods such as strawberries, oranges, grapefruits, olives, etc. The war in 2014, that lasted almost two months, has left the majority of Gazan farmers living in the buffer zones with their houses demolished or their land bulldozed – in worst cases, both. In 50 days long war that Israel called “Operation Protective Edge” more than 2,200 Palestinian lives were lost and about 17,200 homes totally destroyed, after 20,000 tons of explosive had been dropped on Gaza.

Adam shoots with the Leica M240, he enjoys the camera’s simplicity. “From an M6, to M9, to M240 and next an M10-P I never need waste time re-learning the tool”. The screen has proven to be incredibly practical on the job, he says that when he can make someone look better than they see themselves, something magical happens. The subject opens up and, as much as he loves film, the immediacy of digital has helped him a lot. Many of his craftsmen subjects know Leica and think of it as a well-built tool. Often, they even have their own family stories that relate to Leica. Tools are important to people who build things, though craftsmen value tools, they don’t get overwhelmed by them.

a guest blog post by Maggie Steber

But despite the ability to perform 5 trillion operations a second, the iPhone still can’t do something your dedicated ILP camera can, namely, collect as much light. And when it comes to photography, true exposure (i.e. the total number of photons captured) is directly related to image quality.

Every September, thousands of visitors breathe life into a waterfront strip under the Brooklyn Bridge at Photoville, where shipping containers become galleries featuring a dizzying range of photographs. Themes of gender, social and ethnic diversity, resilience, freedom of speech, and immigration make this a perfect event for New York City and — presented by the Annenberg Space for Photography as of next spring — Los Angeles, both cities marked by thriving cultures built by people from different backgrounds.

Rooted in what I learned at the International Center of Photography in NY and as a darkroom printer at the Magnum Photo Agency (also in NY) my personal work challenges the traditional format of documentary photography primarily the idea of  pursuing objectivity with an intrinsically subjective medium. My recent projects Moving Portraits (2013), Moving Stills (2015),  Tlatelolco Disproved (2014) and Free Architecture (2017-ongoing) are examples of how the processes can be integrated into the final presentation of a project to create an honest representation through subjectivity and transparency. – Adam Wiseman